A constituição do “sujeito infame” negro no cinema brasileiro, ou uma arqueogenealogia do silenciamento

• Ano de defesa: 2017
• Autor(a) principal: Alves, Cecília Noronha Braz
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal da Paraíba; Brasil; Linguística; Mestrado Profissional em Linguística; UFPB
• Palavras-chave em Português: Análise do discurso; Cinema; Sujeito negro; Corpo; Biopolítica; Discourse analysis; Black subject; Body; Biopolitics; CNPQ::LINGUISTICA, LETRAS E ARTES::LINGUISTICA
• Link de acesso: https://repositorio.ufpb.br/jspui/handle/123456789/24453

The purpose of this dissertation is to investigate the constitution of the black subject in his irruption in Brazilian cinema. Our object of study is the discourse about the black body in stories of infamous lives. The corpus consists of 33 frames of the films O despertar da redentora (1942), O ébrio (1945), Rio, 40 graus (1955) and Aruanda (1960). We will use as a theoretical contribution the French Discourse Analysis (AD) and its resonances in Brazil. The methodology adopted is that of qualitative approach, using the following modalities: documentary; Bibliographical and analytical, because in AD the theory and method are inseparable, therefore, both are tools of analysis. Our theoretical field relies on the contributions of the philosopher Michel Foucault and his archaeogenealogy to give account of our problematic that questions how and why did the black subject erupt in Brazilian cinema in the first half of the twentieth century, moving from a "no place" to a place in the order of discourse.Above all, what interests us is the notion of biopolitics (population government), which is one of the two axes of biopower (discipline being its second axis). Both are related to the analytic of power regarding governmentality. We will also consider the procedure of discourse control that Foucault called the will of truth. With it, we will investigate how the knowledge and a set of practices are reinforced and renewed in the society in which the selected films were produced and exhibited. The Foucauldian ideas in our research dialogue with the works of Jean-Jacques Courtine (discursive memory, body and inter-iconicity:), which opened the range of the AD to new materialities beyond the written text, thus giving space to the analysis of images. We will also mobilize the studies of the Brazilian linguist NiltonMilanez, focused on the relation between the discursive body and the cinematographic language. He understands the body as a discursive object; An surface of inscription of historically constructed discourses, articulating knowledge, powers and practices of subjectivation. By promoting the dialogue of all these theoretical presuppositions, we enable the analysis of the hybrid materiality of cinema (in its structure, formed by sounds and moving images) with the event (history). We believe that the knowledge of eugenia and her racial superiority theses, embedded in the republican pillars of order and progress, inspired by Iluminism, bring to light the effects of truth on the black subject that circulated in Brazil in the at the end of the 19h century and beginning of de 20h century. A set of social practices, with a view to a prophylactic "whitening" ideal, was prescribed by Social Medicine discourses and laws such as immigration control and the 1934 Constitution. The marks of this network of knowledges and powers are inscribed in the discursive body of the studied characters. Thanks to these practices of daily life, the discourse on the black subject went from the unspeakable to the sayable in the order of discourse in Brazilian cinema, under an infamous characteristic. This infamous one erupts thanks to the clash with the power that annihilates him by "whitening", producing an effect of racial inferiority.